While they often presented themselves as bodybuilders’ publications, their chuckle-prompting titles — Torso, Adonis, Honcho, Mandate — didn’t lie. Gay men’s magazines of decades past were bought by gay men who wanted to look at the erotic illustrations of well- built male bodies therein. Because any- one known to possess such material in the homophobic 1950s and 1960s could experience serious consequences, men hid the magazines under their mat- tresses. These illustrations have now inspired a traveling exhibition, Stroke: From Under the Mattress to the Museum Wall. Curated by notable erotic artist Robert W. Richards and orig- inating at the Leslie-Lohman Museum of Gay and Lesbian Art, the popular show contains 24 original illustrations that ap- peared in gay magazines from the 1950s to the 1990s. It also looks at how gay men, forced into the closet during those decades, used these pictures to explore their sexuality intimately. It additionally serves as a showcase for the artists in- volved. On view are works by two dozen top artists of the times, including Touko Laaksonen (Tom of Finland), Antonio Lopez (Antonio), and David Martin.More
Producer, writer, and activist who produced shows like All in the Family, Sanford and Son, and Maude, is awarded the 2016 Freedom of Expression Award after a screening of the new documentary Norman Lear: Just Another Version of You.More
At the main festival ground on Saturday July 23rd and Sunday July 24th at Fort Mason Center, we welcome many celebrities from Japan, including WORLD ORDER, Silent Siren, Wednesday Campanella, GARNiDELiA, Mitz Mangrove, and many more, and we will also host a variety of events, including J-POP LIVE concerts, Meet & Greet sessions, Q&A with special guests, Interactive Summit, Travel Pavilion, Ramen & Sake Summit, dance, karaoke,cosplay and'J-POP Queen' drag contests.More
We will dispense with the double entendres: Carol Doda, who we lost in November, was a San Francisco hero who will be rightly celebrated and remembered as long as the town she helped create still stands, the torch held aloft along Broadway and kept alight in neon.
Apparently, Mother Teresa played the albums of local composer, performer, and playwright Katie Ketchum in her healing centers throughout India. Ketchum's last solo show, about American painter Mary Cassatt, received a grant from the National Endowment for the Arts. These facts certainly give her lots of holy and theatrical cred. So it would appear to make divine sense that Ketchum has spent the last 23 years translating The Gospel of Mary of Magdala into this solo play, even if the result is wacky and poorly executed. Centered on a '50s rockabilly singer named Marlene who's rehearsing her band to spread the message of love while receiving sacred nightly visitations, Ketchum's performance feels as if she were a rebellious nun throwing a Sunday school sing-a-long in the church basement. She has a beautiful voice, and there are some charming moments (such as when Ketchum reads from a copy of The Complete Idiot's Guide to Mary Magdalene), but a good directorial eye is lacking. This production is perhaps ideally suited to a cabaret setting rather than Shotwell Studio's dance space so that audiences could better heed Ketchum's lyrical advice: "Bring the water; we'll turn it into wine. ... Let's party!" Ultimately, there are too many awkward transitions and bizarre moments like her out-of-nowhere goth-styled dance number, set to prerecorded rap lyrics railing against women being treated as "doormats" for 2,000 years because Magdalene was incorrectly labeled a prostitute. As Ketchum sings (and we scratch our heads): "Please find it in your heart to hug a ho today."